Since the 1950s scores are used in performing arts. We can name John Cage as being the first to be interested in scores as a way to explore the notions of chance and indeterminacy in artistic practice, doing the same but different. In the context of performing arts scores provide instructions for the artistic practice, whether for a performance or an improvisation as part of a creative process. Having the outcome of a (dance) score practice necessarily different every time, m
Since a few years I am particularly interested in fascia as a structure in the body to initiate movement from. Fascia is fashionable these days and widely researched, as a place where chronic pain in the body can be treated and because of the resilience it provides to the body and movement. A friend had told me that he was very impressed by the lecture Dutch fascia researcher Jaap van der Wal gave at the fascia congress in October 2015 in Washington. The same Jaap van der Wal
Movement Research | Artistic As a choreographer and performing artist I might have contributed for many years to the corpus of Artistic Research. Yet I didn’t call my work “research”. I wasn’t aware and I didn’t articulate that me and my collaborators were generating knowledge in our creative processes. Was I a researcher then? Research: “An investigation directed to the discovery of some fact by careful study of a subject, a course of critical or scientific enquiry” (OED) "
The piece “70 trillion – A Lecture Performance by Lou Sturm” is a 50-minute performance premiered at Bühne A on March 24th of 2017. The piece consists of five parts and while the concept was developed by me, a light-designer, sound-designer, stage-designer and costume-designer were also collaborating. The piece is an transdisciplinary investigation from three disciplines: Choreography : What is movement? Anatomy : What structures support my movement? Em